Artist Daily : plein air, Landscape Drawing

Taking That Leap of Faith

Courtney Jordan — Wed, 28 Nov 2012 04:33:00 GMT

Artists who step outside their studios take a leap of faith. When you determine that you are ready to create a plein air painting, you take a chance with lighting, composition, color, and time. All of these are variables that you need to contend with to get your outdoor painting right.

Artist Robin Purcell takes that leap of faith and has been richly rewarded with her plein air watercolor art. Painting outside, she doesn't shoehorn what she finds into what she wants to paint. Instead, she makes magic with what she finds, and this is key to an enjoyable and rewarding plein air painting experience.

Summer Oak by Robin Purcell, watercolor painting, 10 x 12.

For example, in Purcell's plein air painting Summer Oak, the artist observes a scorching hot afternoon when the sun is at its highest, and she sees how the reflected light turns the top leaves of an oak tree deep orange, while its lower branches remain a verdant green. When she walks above a field of wildflowers that still have lush color to them but are surrounded by woody purples and browns of nearby scrub trees, she jumps right in and makes the most of it.

Wild at Heart by Robin Purcell, watercolor painting, 14 x 14.

Painting outdoors can be a panacea if you are feeling constricted and uninspired in the studio, but I remind myself that taking those steps outside means you are playing by Mother Nature's rules. That's more than OK with me, but you have to be open and not take those small and simple gifts of beauty that you see around you for granted. They're the ones that need painting most!

But before I get too ahead of myself on the beauty of the plein air approach, I remind myself that painting is not only a leap of faith; it is also a skill-based enterprise. One of the best places to get foundational painting techniques--as well as to learn more advanced methods for plein air watercolor painting--is in the pages of Watercolor Artist magazine. It is a stellar resource for whatever you want to do with watercolor and will open your eyes to even greater possibilities with the medium. Enjoy your subscription to Watercolor Artist!

The Quest to Paint the Arctic

Courtney Jordan — Wed, 26 Sep 2012 03:14:00 GMT

Yes, you read that right! I've heard of extreme sports and extreme makeovers, but extreme outdoor painting? This is a first for me. But when plein air artist Cory Trepanier told me that he had made a trek to paint the far reaches of the Canadian Arctic--a land of icebergs and permafrost and tundra!--I wanted to know more.

Trepanier had an amazing view of Arctic--and chose to record those sights
in photos, film, and numerous plein air paintings.

Trepanier is an artist and filmmaker who has a keen passion for the wilderness. He has gone on three excursions to the Canadian Arctic and documented his expedition in two films and more than 1,000 photographs, but what's most intriguing is that he managed to create a collection of plein-air oil paintings while there. That's amazingly inspirational to me! To travel to the edge of the world into unknown territory and have enough presence of mind to take out his plein air easel and get to work? I'd be too busy shaking like a leaf from excitement (and cold!). Trepanier harnessed the energy of his environment and the power of this once-in-a-lifetime event into works of art that bring the Arctic--a place so awe-inspiring and, for most of us, out of reach--up close.

Trepanier based several large studio paintings on the plein air sketches he created while on his treks.
Above, Great Glacier, study by Cory Trepanier, 16 x 6, oil on linen, painted at Coronation Fiord,
Baff in Island, Nunavut, Eastern Canadian Arctic.


Trepanier plans to create a collection of 50 fine art oil paintings based on his Arctic plein air paintings.

Be sure to follow Cory's progress as he shares every step of his arctic painting journey on Artist Daily. Here's the first installment about how this plein air painting quest began! And whether you are ready to take on extreme outdoor painting, or you're like me and want to start with a nearby park or backyard, Plein Air Painting with Watercolor is a key resource for you. This eBook provides detailed information on mastering the medium in the great outdoors, and includes three step-by-step painting demonstrations, and tips on how to go from a painting sketch to finished work. Enjoy!

The Long, Hot Summer

Courtney Jordan — Mon, 16 Jul 2012 03:22:00 GMT

The light of summer is a powerful and extreme thing. Getting effects of extreme darks and stark, searing lights is not something every painter can do. There's an acuteness of vision that must come into play to see the color that resides in the light as well.

When I look at the work of pastel painting artist Jane McGraw-Teubner, I see that kind of vision. Take any one of her pastel drawings and there is a sense of time of day and seasonality present. This probably comes from the fact that McGraw-Teubner spends a good deal of time outside of her studio, painting the landscape outdoors.

End of Summer by Jane McGraw-Teubner, pastel painting on paper, 11 x 14.

You can always tell an accomplished painter by what they can do when they are painting outside because nothing is a given and there are challenges galore. McGraw-Teubner always seems to find an interesting vantage point that makes her composition stick in your head. And then there's the way she uses color, light, and texture to reinforce a composition. For example, she might play with a diagonal direction in a painting. She'll not only establish this with a physical element--like a tract of road or a field of flowers--but she'll reinforce the direction or sense of movement with color contrasts or a pattern of light and shadow. Smarty!

Avalon Barn by Jane McGraw-Teubner, pastel painting on pastelbord, 11 x 14.

I'm also drawn to the way she incorporates different natural elements in her pastel drawings. There's a sense of the land, but usually a waterway and patch of sky as well. All of these combined give a plein air painting a breadth and scope that is really welcome.

If you have an interest in pastel painting in the great outdoors and want to make the most of your time when you go, McGraw-Teubner's new DVD, En Plein Air: Pastel Landscape Painting is a video workshop definitely worth watching. It delves into all the elements that make a great work of art--whether it is created inside the studio or out. Enjoy!

Plein Air Watercolor Survival Guide

Courtney Jordan — Wed, 06 Jun 2012 03:37:00 GMT

When plein air painting, one of the most enjoyable and facile medias I've found to work with has to be watercolors. Hands down. The supplies are minimal, you can paint quickly and move from place to place making sketches of what catches your interest, and the paintings dry so quickly that there's no stress involved when it comes to packing up and moving out.


		A Break in the Weather by Jim McFarlane, watercolor painting.

But there are a few learning curves that artists can hit along the way when painting outdoors. That's why I want to share a few tips straight from the brightest plein air artists in the biz so we can all paint with confidence when we are painting outside.

Jim McFarlane focuses on using a limited number of values when he wears his plein air painting hat. It requires you to link areas of similar values together, resulting in larger shapes and sounder compositions.

McFarlane also encourages painters to be opportunistic-look what is around you and take it as a visual gift. If there are unexpected views or situations, make the most of them. Don't get bogged down in preconceived ideas about how you want the painting session to go before you even leave the studio.

The first question McFarlane always asks himself is, "Where's the sunlight?" That becomes the white of his paper, and from there he knows that anything that isn't sunlight at least gets a light value, which is especially helpful with shadows that move so quickly when you are painting en plein air.


China Camp Village by David Savellano, watercolor painting, 14 x 21.

It can be a jungle out there, and one way San Francisco artist David Savellano stays focused when plein air painting is to write down the title of the piece before he starts painting to maintain a sense of purpose and continuity throughout the process.

Savellano also cautions artists to forego multiple layers when painting outdoors. Instead, he encourages focus on painting with the fewest expressive brushstrokes that you can manage, and trying to get values and colors right the first time. It may not happen that way all the time, but it is a goal worth striving for.

For more survival tips for watercolor painting inside and outside the studio, a subscription to Watercolor is what I would recommend. There are great instructors passing along their tips and trade secrets, and in the Summer 2012 issue that you'll receive with your new subscription you'll find David Dewey's newest watercolor paintings give coastal landscape painting a modern makeover, and see how artist Amy Arnston paints water with water. Enjoy!

Pop Quiz: How Good Is Your Painting Memory?

Courtney Jordan — Fri, 17 Jun 2011 03:28:00 GMT


Squall Line by John Hulsey (30 x 40, oil painting).

John Hulsey and Ann Trusty created their website, The Artist’s Road, to inspire their readers and students with practical art tips and plein air painting techniques for the traveling artist. John and Ann have been blogging for us at Artist Daily for several months and I want to share one of their recent blogs because it really helps me focus when I step outside my studio for a painting session.

***

As plein air artists, Ann and I become very aware of our own visual filtering processes—our visual biases. We train ourselves to focus our eyes and our minds on the subject before us, but it is only when we quiet the mind from labeling and judging what we see that we really start to ‘wake up’ to the vision before us. It’s not easy. This can take years of effort, but we’ve found it’s a skill more important than any technical ability. If we can’t see, what good is perfect technique?

Over the years, the focus of the instruction in our plein-air painting workshops has evolved into teaching students how to become more fully aware of their subject before they attempt to paint it. In fact, we came up with an exercise that helps all of us test our visual biases, in order to understand what we see and what we ignore. Here’s what to do:

1. Stand in front of your subject matter, and just sit quietly and study the subject for five minutes. No talking or sketching, just looking. This is a pretty long time to sit quietly for most of us, and after about three minutes, restlessness sets in and peoples’ concentration begins to wane—perfect!

2. After five minutes, turn your back on the subject and make an accurate drawing of the plein-air composition you were just looking at for another five-minute stretch. Almost every painter we’ve worked with on this tends to finish before the time is up.


	El Capitan by John Hulsey (36 x 36, oil painting).

3. When the time is up, turn around and compare your memory drawing to the actual scene. This is a moment of epiphany for most people. If you are in a group or workshop when you do this, you’ll find everyone leaves out something and puts lots of detail into the things that they are most interested in. Some students leave out entire buildings or other prominent and unavoidable objects in the foreground, while tightly rendering a lamppost or a fountain.

There is no right or wrong to this—everyone has these biases. The point of the pop quiz is to give you a clearer picture of how you see the world, and how you can take your own bias and improve your appreciation of it in your art. Try it and see what your memory zeroes in on!

***

The first time I did what John and Ann suggest I was astounded at what stood out in my mind—I’m much more likely to focus on trees, vegetation, and light on form rather than a wider vantage point of a landscape scene. Now I’m more aware of how and why I choose certain compositions over others and what my blind spots are. That has been a real asset when I gear up to do outdoor painting.


Concurrence by Ann Trusty (11 x 14, oil painting).

I’ve also been lucky to find really great instruction in our plein air magazines and DVDs. For me, I can’t always get away and attend workshops, but with Frank Serrano’s Plein Air in Oil DVD and all the great demos in Plein Air Painting, I get the top instruction that I need to feel confident and make the most of the time I do get to devote to painting outside, and it may just be the same for you.

And for more from John and Ann, check out the Artist Daily Plein Air Blog. Enjoy!

5 Surefire Plein Air Painting Techniques

Courtney Jordan — Fri, 11 Mar 2011 04:22:00 GMT


The Evening Show by Clyde Aspevig, oil, 40 x 36.

You can often tell a painting that was painted en plein air from one that wasn’t. There is an immediacy to the light and atmosphere depicted in plein air paintings that isn’t always achieved when the work is brought into the studio. But what really sets an outdoor painting apart? I went to some of the best plein air artists, instructors, and seasoned painters in the country to see what they think distinguishes a plein air painting, and discovered several pearls of wisdom that I want to share.

It is all about the light, according to world-renowned artist James Gurney. Direct sunlight, overcast light, and interior light from a window or light bulb vary significantly. With direct sunlight, Gurney reminds artists that as more clouds appear in the sky, shadows become grayer, and if there is a hint of haze or smog in the atmosphere, shadows seem relatively closer to the tonal value of the sunlight.

Mark Delassio strives to have his paintings mimic the way the human eye actually sees. To that end, he prefers 3-to-4 proportions of canvases as opposed to 5-to-8, which he finds too narrow for landscapes. He also wears only blue shirts when he is painting outdoors because it reflects light that is neither too dark, as when he’d wear a black shirt, or too highly reflected, as with a white shirt.

Top landscape painter Clyde Aspevig believes that details should be last on an artist’s checklist: “By subordinating details, creating abstractions, and employing unusual compositions or techniques, we can create more knowledge gaps. These little questions or mysteries pull the viewer into further analysis.”


	Early Spring Morning, Portuguese Bend by Amy Sidrane, 2005, oil, 24 x 18.

Clark Hulings was a master of using diagonals in his paintings, creating a dynamic grid for the viewer’s eye to travel along without ever straying far from the painting’s focal point. Diagonals can be teased out of a composition in the winding roads, slumped architectural forms, or rocky hills featured. Hulings would always place diagonals in contrast to one another so that the viewer is caught in a visual net, the eye darting in, out, up, and down according to these subliminal but persuasive lines.

Now, I know that I said I approached these artists for advice, but that was a bit of a tall tale because you can find all of their guidance and more in our newest special issue--Plein Air Painting. It is the largest, most comprehensive issue on landscape painting that we’ve ever done. In it you’ll find advice on tools and techniques, how to source and dissect all the patterns of light you’ll encounter while painting outdoors, and how to represent landscapes both real and imagined. It is a watershed resource—everything you’ll want to start your plein air journey this season is here. Enjoy!

Don't Paint the Sky Blue!

Courtney Jordan — Mon, 29 Nov 2010 04:07:00 GMT


Sky Study by Johan Christian Clausen Dahl, oil on paper, 4 x 8 1/4. Collection the Thaw Collection at the Morgan Library & Museum, New York, New York.

Because it’s hardly ever really blue. Think of Turner’s skies or even Monet’s—they are multifaceted and carry the hum of several colors. As many of us transition from painting outdoors to inside the studio, we can sometimes make assumptions and take certain things for granted like the color of sky or water, perhaps because we may see our subjects primarily in photographs, or maybe because the weather or busy schedules give us a much more limited timeframe to go out and work in the landscape.

When it comes time for me to paint from an aerial perspective, I think of Georges Seurat’s paintings. This may be an extreme example, but for me his work demonstrates an awareness of the prevalence of color, especially in the sky. Thinking of his pointillist dots helps me remember that color is everywhere. In the spirit of this, I pulled together a few tips on painting the sky to help stave off the “blue syndrome.”

Build up the sky with various tones, and not just blue ones. Really look at the sky and see what colors are there. A rainy day can often have gray, green, and even yellow tinges to it. A sunset is often much darker than I usually paint it the first time, and can contain all kinds of deep reds, pinks, and purples.

3.19.98, 6.10 p.m. by Kevin Macpherson,
oil, 6 x 8.

Don’t paint the brightness of the sky alone—paint the shadows in it to give a sense of space and depth. The more moisture in the air, the more reflections—and, as a result, the more color—you will find. Even when the sky is clear there is a sense of depth perception to our field of vision. In every case, question how that occurs and try to accentuate it.

Clouds reflect the light in the sky. Even on a picture perfect day, when clouds look white and the sky looks blue, don’t reach for blue and white alone. They can make a painting look flat and clichéd. Experiment with the colors you perceive in reflections and the light to add depth and greater realism.

Study for Pacifica Coast by Joseph Mendez,
2007, oil, 12 x 16.

Adding texture to the painting surface can give an entirely different sense of atmosphere than you can get by manipulating paint color. Experiment with thick and thin strokes of paint and new mediums for surprising results.

The sky tends to lighten toward the horizon. Be mindful of this as you are painting because this alone can help create a more convincing landscape painting.

I want to hear your tips for painting the sky, so send them to me—along with any other techniques you have for creating great landscape paintings in the studio. For more great suggestions on creating compelling plein air paintings, check out the American Artist: Plein Air Painting special issue and our DVDs with artist-instructors Marcia Burtt and Frank Serrano. It’s a smart time to buy because purchases of $30 or more receive free shipping. Enjoy!

Free eBook for Your Best Summer Outdoor Painting Experience

Courtney Jordan — Fri, 09 Jul 2010 03:17:00 GMT


Sunset Mooring, Nova Scotia, by William H. Hays, 2004, oil, 38 x 28.

With summer in full swing, I've been spending as much time as possible outdoors, going to concerts and plays, walking from place to place when I do my errands, and just finding every excuse for an outdoor excursion. Plein air painting is another perk of the season. There's something invigorating about stepping outside and sharing space with your subject matter-breathing the same air, seeing the same light, and having an in-the-moment experience with the landscape.


	Dune Pathway, by Joann Ballinger, 2005, pastel, 5 3/4 x 7 3/4.



	Hopkins Road by Jean Stephens, 2000, oil, 28 x 48.

Creating plein air paintings can definitely test you as an artist. There are plenty of challenges—contending with the ever-changing elements, mixing paints quickly and accurately, editing a scene into a manageable composition while capturing the feel of the place, and doing all of this without the security and convenience of your studio. You really have to know your medium—what it is capable of doing in reaction to heat, sunlight, and humidity. That's where the books How to Paint: Pastels, How to Paint: Oils, and How to Paint: Acrylics can come in handy. Each book delves into the details of its specific medium, offering practical information and advice on finer points that may be helpful when painting in the field.

Painting outdoors can be one of the most rewarding activities a painter embarks upon. In a way it can make you the best artist you can be, because there's nothing—such as poor lighting or unreliable photos—skewing your vision. In our free eBook Oil Painting Techniques: 24 Tips to Learn How to Paint a Plein Air Landscape, artist-instructors and plein air painters share their unique approaches to how to paint landscapes. They discuss topics ranging from why watching objects in motion leads to a better understanding of how shapes, colors, patterns, and values change, to helpful tips on working with a limited palette, to how to paint water accurately.

With Oil Painting Techniques: 24 Tips to Learn How to Paint a Plein Air Landscape and any one of the How to Paint books—Pastels, Oils, or Acrylics—you'll be ready to create beautiful works of art en plein air, while appreciating what the natural world has to offer.

Taking Advantage of Free Instruction

Brian Riley — Mon, 15 Feb 2010 12:00:00 GMT

I recently joined a gym in my neighborhood, with the hopes of working off some of those extra holiday pounds that seem to wear out their welcome around this time every year. My schedule is pretty busy, so I try to streamline my visits, making a beeline for the treadmill as soon as I arrive. Occasionally I’ll use a couple of exercise machines, I never really bothered to check out any of the other offerings. Recently, however, I had time to spare and I took a few extra minutes to walk around the place. I noticed some pretty great features I’d never seen before, including free exercise classes offered by the gym. I don’t know about you, but I find anything free hard to pass up, so I grabbed a flyer, signed up for a class, and voila!—I’m taking Yoga.

Artist Daily can be just like that for you. Maybe when you visit our site, you head right to the forums to share ideas with fellow artists, or you visit the gallery to see the new works that have been posted by our members. Well, next time you visit, spend a little time checking out the site, and you’re likely to find useful information, such as the free art instruction in the form of our downloadable eBooks. We’ve got something for everyone, whether you’re interested in improving your drawing skills (Drawing Basics: 15 Beginner Drawing Tips on Learning to Draw People the Classical Way or Draw People From a Photograph), working on painting still lifes in oil (Painting Techniques in Still Life Oil Painting), working in watercolor (23 Free Watercolor Lessons for Portrait Painting or How To Paint Landscapes With Watercolor) or painting en plein air (24 Tips to Learn How to Paint Plein Air Landscapes). Our free eBooks can give you the information you need to improve your art skills, so check them out now.

Free Lessons From Top Watercolor Artists

Brian Riley — Mon, 02 Nov 2009 09:00:00 GMT

The basic set of supplies John Hulsey
uses when painting on location.

The recent spat of wet weather in New York has made it difficult to get outside to paint, but that doesn’t mean we in the American Artist offices haven’t been thinking about it. Sometimes those changing leaves are just too beautiful to ignore, and what better way to capture that fall foliage than with watercolor? Whether creating sketches to use as reference for later paintings or completing finished work, watercolor offers artists a wonderful option when looking to paint landscapes, specifically when painting en plein air. Because the supplies needed to paint with watercolor outdoors can be paired down to the bare essentials, artists can venture out into nature and find that perfect spot to paint.

Our latest free eBook Watercolor Instruction: 13 Step-By-Step Watercolor Lessons, How To Paint Landscapes with Watercolors will give you the information you need to make the most of your watercolor landscapes. You can take advantage of step-by-step instruction from Joseph Bohler, the Colorado artist who emphasizes the importance of having a good attitude when painting. You’ll also receive advice from John Hulsey, who discusses the key role of watercolor sketches in the creation of landscape paintings. He also offers advice on how to limit your supplies when painting on location to allow you the freedom to get set up whenever and wherever the scene strikes you.

So get out there! Preliminary sketches or finished work; masterpieces or miscues; regardless of what’s coming off your brush, the information provided in our free eBook Watercolor Instruction: 13 Step-By-Step Watercolor Lessons, How To Paint Landscapes with Watercolors will help you take that next step in your watercolor painting.


Study for Pacifica Coast by Joseph Mendez, 2007, oil, 12 x 16.